Issue 23 Exhibitions Ōtautahi www.artbeat.org.nz November 2020 Galleries Studios Waitaha Street Art Canterbury Art in Public Places ARTBEAT In this issue: The Wrightmann Collection 01 Graffiti: Cat or Mouse? 02 News, Events & Workshops 02 At the Galleries 03 Discover Map 04 Reviews 06

The Wrightmann Collection: An All-Encompassing Perspective of Art in a Post-Quake City

It is a private art collection of nearly 1,000 works → Marian Magu- that began its life as the two separate collec- ire, Titokowaru’s tions of Selene Manning and Anthony Wright. Dilemma: Curio from the Colo- Housed in their two-storey home designed by nial Era, 2011, Athfield Architects, The Wrightmann Collection lithograph will open for a one-evening fundraising event, 19 November, for SCAPE Public Art. →→ Chris Heaphy, The Wrightmann Collection maps a recent Poroiti, 2012, history of the visual arts in Ōtautahi Christ- acrylic on linen church that is exceptional. From 2007, Manning and Wright have added to their earlier collec- tions of botanical art and contemporary works by prominent artists from Aotearoa with the addition of literally hundreds of works by local emerging artist acquired after February 2011. Wright maintains, ‘the earthquake changed everything.’ They visited and purchased works from new and existing galleries and pop-up exhi- bitions, visiting spaces that included ABC Gallery, Artbox, Dog Park, North Projects, Outer Spaces, Room Four and The Auricle, with Ilam influenced by, mentored by, and in conversa- Campus Gallery also a priority. ‘We were going tions with established artists all the time. What out to almost all of their exhibitions, so we got impresses me is how easily the work of an art to know the students really well over a period of student - or a self-taught artist for that matter - can Printmaker, Marian Maguire’s three series that tells you - you can’t live without it.’ of lithographs from 2005 to 2011 that raised- ‘Elizabeth Moyle’s latest oil painting, four to five years. They became friends. In the sit and hold its own energy and voice amongst the Memories Surface eight or nine years after the earthquake, up until works of more established artists.’ questions about the ancient Greeks and , which we purchased from when our house was built we more than doubled Wright also maintains that they would never European colonisation of the Pacific are also Chambers Gallery is exactly like that. Wow, this the number of works in our collection.’ buy a work simply to support an artist. ‘It is about a favourite. An important suite of works, Wright is Lizzie now. This is so different to our previ- Manning observes that they both made ‘a very loving the work. It’s that instant resonance thing; describes as deserving of a place in any public ous works of hers, and then you start to try and conscious decision after the earthquakes; do we and the artists that we are really passionate gallery’s collection. unravel why. She uses plywood in a way like stop collecting and wait until we have bought or built about we have followed and followed. You pick In many instances the artists have recip- Sam Harrison does to amplify what they are a house and settled with insurers? Or do we carry up some and with them.’ rocated their support for Manning and Wright. doing. What they are saying? What they are on supporting artists and adding to the collection? And there are many works in their collec- ‘Some artists have been incredibly generous painting and why are they printmaking? ' We decided that we would keep buying.’ tion that they discovered on first encounter to us, gifting works and little things that are Manning says that humour is important as “thank-yous” - even thank you cards. My first of well - along with the pushing of people’s comfort ‘Aside from the fact that quite a few of the ↓ were impossible to say no to. Chris Heaphy’s early artists we collected are established now, the Elizabeth Poroiti, 2012 is one of those for Wright. ‘It was the latter was Joanna Braithwaite sending me zones. ‘Art has such a large role to play in society. Cow scattering of really established works through the Moyle, , an instant hit. I got butterflies when I saw it at a card that had the most gorgeous painted eye, It is not only ‘pretty’ or ‘comfortable’ or ‘easy to 2007, woodcut which is now framed.’ access; art also needs to reflect human complex- collection allows a bigger conversation between print on paper, Jonathan Smart Gallery,’ [which in 2012 was at all the works. Emerging artists are taught by, embossed Neil Dawson’s studio on England Street, Linwood.] Manning says that it was a very conscious ity, playfulness and rebelliousness (be it political, decision to support local artists. ‘There wasn’t moral/ethical or societal). This invariably intro- a lot of money around post-quake so people duces humour into an artist’s work, something weren’t really stepping up and spending. They we both enjoy and love to be surprised by.’ were trying to settle with insurers. We were To a certain extent, this accounts for the worried that local artists were going to move to substantial representation of Francis van Hout’s Wellington or Auckland. We were really keen to paintings in their collection, dating from The be part of the community that encouraged them Pink Terraces, 2013 to Conjunction Moon in to stay.’ 2020. Wright and Manning are keen to spread Among the many artists from this period the word, not only about van Hout, but all the supported by Wright and Manning were Mary- artists whose work they have collected. ‘If you rose Crook, Simon Edwards, Sam Harrison, Eliz- like something by an artist, no matter what abeth Moyle, Josh O’Rourke, Doc Ross, Sophie anybody else thinks - do not be afraid to buy Scott, Wayne Youle and Charlotte Watson. it. We tell people that Francis’ work is fantastic. How do they decide on a particular work When you love art you want to support artists.’ for their collection? There is an instant curios- ity says Manning. ‘It is an engaging desire, an The Wrightmann Collection unveiled. emotional connection and it is very strong. It is Anthony Wright & Selene Manning together the difference between just being happy to view with SCAPE Public Art. it and needing to live with it. There is a tipping Wrightmann House, 138 Bishop Street, point where you want to own it and you want to CHCH see how it was painted or drawn and you want Thursday 19 November 2020, 6–9pm. to dive into it.’ To enquire about tickets to this event contact Wright says that for him it is a ‘combination [email protected]. of the hair standing up on the back of your neck Tickets are limited and will be numbered as though you are in the presence of something for the opportunity to take home the Simon almost life changing. It creates an instant ache Edwards landscape Pathfinder.

Artbeat Issue 23, November 2020 01 Cat or Mouse? writer Reuben Woods There is a memorable scene in the iconic 1983 graffiti documentary Style Wars in which then New York Mayor Ed Koch discusses his plan for wild wolves to patrol and defend the city’s subway train lay-up yards from graffiti writers. While it seems over the top, it highlights an extreme of the various approaches to graffiti deterrence undertaken by municipalities over the years, constantly exploring ways of eradi- cating the writing on the wall (not to mention the more bloodthirsty plans of public commenta- tors, who have been known to call for dismem- berment or worse). Responses to the problem of graffiti vandalism include the practical removal with swathes of grey or brown paint (a dubi- ous aesthetic improvement), surveillance of areas, restricted access to aerosol paint and even attempts to harness the creativity of artists in legal projects or spaces. Of course, graffiti is grounded in rebellious intent and thrives on existential challenges, and along with street art, tactical evolutions are constant; the anonymity of pseudonyms and changing identities, the intimate familiarity with targeted ‘spots’, and the portability of tools spring to mind. Graffiti continually reinvents aspects of its performance in counter response to the moves of authority. Admittedly, the Christchurch City Coun- cil approach has evolved over time, utilising more discretion and recognising the complex balancing act of the city’s ongoing recov- ery and new-found urban art’s reputation. ↑ will utilise an “algorithmic identification tech- to identify with certainty, especially with the stop imitation swaying from flattery to insincere To the unini- However, more traditional responses remain tiated, graffiti nique” to match“ graffiti images that show key tactical adaptability of graffiti writers. What or accidental incrimination? necessarily in place. can seem in- similarities.” would be considered a ‘key’ similarity? Wild- The point here is to raise the uncertain- I was intrigued when the Council recently decipherable, Programme manager Michael Healey style graffiti is almost indecipherable to the ties of such an approach and to suggest why it making the announced a new initiative to combat repeated recognition of proclaimed that: “With this new technology we uninitiated, intricate interlocking forms more has proven so hard to eradicate graffiti despite graffiti vandalism. The media release explained style confusing. will be able to connect a graffiti tag with an indi- concerned with the internal audience, often decades of attempts. Graffiti thrives on oppo- the plan to map and track graffiti across Christ- vidual or ‘crew’.” Essentially, stylistically details rendering stylistic traits variable. Similarly, sition; it exists in opposition. Attempts to crack church would use “innovative technology” and would connect examples of graffiti and build a while ‘biting’ or copying someone’s style is an down on graffiti often result in new directions data from the public and contractors to help body of incriminations. offense, the internet era has made the spec- within the culture rather than its disappear- “identify repeat offenders to police.” While Distinctive personal style has long been trum of graffiti styles readily available and influ- ance. In its pure form, graffiti is a game of sorts this is nothing new (and was presented in the central to graffiti, tied to the desire for recog- ential and less personally definitive. In a sense between writer and authority, although the role standard “anti-social” rhetoric) the technology nition and respect. But it seems a difficult way graffiti has become post-modern. What would of cat or mouse is perhaps open to debate.

NEWS EVENTS & WORKSHOPS

↑ Blossom, Diamond Harbour Margaret Stoddart, , date unknown, collection of Two-Day Woodcut Print Workshop with A Guided Tour. Margaret Stoddart's The Art Grab. A fundraiser for a new Stoddart Cottage Trust Ben Reid: Open to all levels with a focus on Diamond Harbour: Visit the Diamond public artwork: The Ashburton Art Gallery woodcut relief methods, making woodcut Harbour locations of Stoddart’s paintings, celebrated its 25th Anniversary in Septem- plates and experiencing the finer qualities their stories and people, connecting past ber, commissioning a new public artwork. of printed colour, texture, line and papers. and present. Sunday 8 November, 10am - To date, the Gallery has curated over 300 All technical equipment supplied. Cham- 2pm. Begins at Stoddart Cottage Gallery. exhibitions with local, national and interna- bers Art Gallery 241 Moorhouse Avenue. $20 to attend with proceeds to the Stod- tional artists. Marking this milestone, the Wednesday 9 and Thursday 10 December, dart Cottage Trust. Limited numbers, book: gallery’s committee is commissioning an 11am to 4pm. $350.00 per person, non-re- [email protected] artwork to gift to its community and visitors. fundable but transferable. Contact Julie The goal is $25,000, commencing with The Williams, 022 677 2810, (gallery hours) New Manager. Stoddart Cottage Art Grab, a four-day exhibition and function, email [email protected] Gallery: Newly appointed manager, Jo Saturday 28 November where artworks Burzynska has recently returned from displayed will be available for purchase. Nice to Meet You. A Pop-Up Exhibition Sydney where she completed her PhD in Artists from the Gallery’s 25-year exhibi- in Sydenham: Multidisciplinary artist LKM sound and multisensory art. Burzynska tion archive have been invited to create a and painter Claire Turner open Nice to is contracted part-time as manager to new work on an A5-sized (148 x 210 mm) Meet You at Millfield Group Warehouses in complement her practice as a multi-sen- piece of acid-free card. All works are $125 Hawdon Street, Friday 6 November, 6pm. sory artist and occasional wine writer. for this first-in, first-served event. Both artists examine our interior worlds Contact: [email protected] and the celebration of finally meeting and 47th Annual Canterbury Potters Asso- knowing oneself. LKM is NZ European Arts Canterbury’s Three Exhibitions ciation Exhibition: Opening night is 11 and Malay Orang Asal /Chinese descent. and Events in November: Arts Canter- November. Work selected by invited guest Her works draw upon a playful escapism bury’s Pop Up shop continues at South City and exhibitor Darryl Frost. Canterbury and spiritual connectedness, anchored in Shopping Centre, 555 Colombo Street. Museum, 12 to 22 November, 9 - 5.30pm environmental conservation and how art Forever Art, a cash and carry exhibition is can facilitate awareness and encourage at the Retirement Village, 95 change. Turner‘s work is a response to the Grants Road, Papanui, 20 to 22 November, natural environment, human experience and a juried exhibition is scheduled at The and the relationship between the two. Nice Brick Mill, Main North Road, Waikuku, 27 ↑ to Meet You Claire Turner, Twelve Years I’ve Loved You, 2020, oil on canvas, (Nice to Meet is open 7 to 8 November, hours November to 6 December. You) TBC.

02 Reuben Paterson at Dilana AT THE

↘ Visually noisy and claustrophobic - yet Chelsea Take thanks to its shared conversations between Thomson, Take Care Care, 2018, imagery and text, Thomson’s is ↑ In collaboration with Dilana and design direc- genealogical and holistic relationship between mixed media on Rueben Paterson, also a warm and heartening message. tor Sudi Dargipour, artist Rueben Paterson Ikarangi humankind and our environment.’ wallpaper. , 2020, Ikarangi (Blue) Warren Feeney on Thomson’s painting. (Ngati Rangitihi, Ngāi Tūhoe, Tūhourangi), has hand knotted in Dargipour says that in , there Passing through with ↘↘ Chelsea Thomson, wool, viscose embarked on a series of rugs that he describes are two different Kōwhaiwhai, the mangopare Jarred Wright, the Booming System and lurex, 1 x 3 , Art Hole 336 St as ‘bridging the sea, the living land and the sky, (hammer head) and mango tipi (white pointer) Greywacke, metres Asaph Street, 10-14 November everything we traverse and everything in Māori sharks and Reuben has used the colours 2020, glass terms, Whakapapa back to the primeval parents selected for the work as a way to Whakapapa, ↘↘↘ Drawing inspiration from the stony beaches of Ranginui the sky father and Papatūānuku, the the design back to its origins, to the blue and Susan Bad- Duckling of the Hurunui district, Wright has recre- Earth Mother.’ greens of the sea.’ cock, , Hand-coloured ated the sedimentary rocks, washed from The project began in August 2017 with ‘I worked with Reuben on Ikarangi during photograph. the Alps to the sea where the ocean tides Dargipour’s proposition for a limited series of lockdown to get the design perfect. Ikarangi grind the stones until smooth and round. hand-tufted rugs. From that initial discussion, translates as galaxy, with a focus on the Milky ↘↘↘↘ Julie Reason, Evoking the memory of exploring the vast Ko Te Aroha Anō, (Love is like Water) and Blue Way and The Magellanic Clouds. Paterson Bubble Cham- landscape of shapes and colours of North were realised. Her first pick for the collection observes: ‘My deeper connection to Christ- ber Warmer, Canterbury’s shoreline, this is very much the was the Kōwhaiwhai design from Paterson’s church began with SCAPE in 2004 and 2020, collage work of a stranded homesick kiwi. 2002 Pataka Art Museum exhibition. ‘He Whakatata mai: do you see what I see? I reflected ↘↘↘↘↘ Ryan Dewsbury on Jarred Wright’s work responded to my request in a way that opened upon as a landscape, where Nancy in glass up a new chapter in our collaboration. He found the gables of the homestead became the Tichborne, Landscape Jarred Wright, Greywacke, Form Gallery, a way to present this design that didn’t make him maunga of the land to source Māori identity Abstract , 2020, 468 Colombo St, Sydenham, 4-28 uncomfortable about the rug being stepped on. which is often hidden, but resides within her.’ watercolour November He has hidden the Koru under the carving line.’ ‘Māori history is not recorded in the same ↘↘↘↘↘↘ Paterson’s rugs also possess the trade- way our European history is and for me those Still Gill Hay, Susan Badcock turns storyteller. However, mark glitter of his paintings, which accounts for fluctuations of optical art do their part to express Life with Artillery Case her tales are no happily ever after. Instead the project’s two year of research and devel- an energy contained in the land by Māori occu- , 2020 they are darkly despairing, raising more opment. pation. This rug is the “burn-back” revealing questions than answering and reminiscent Fundamental to Paterson’s iconography what lies beneath, glowing red upon this singed of Janet Frame’s rubbish dump from Owls are its conversations between the figurative and surface, delicate poppies flower, hovering over Do Cry, a stricken symbol of treasure and abstract, Kōwhaiwhai being a representation of the optical surface as Magellanic Clouds.’ tragedy. nature and a pathway to symbolic and allegori- Freelance writer, Pip Goldsbury reviews cal readings. Paterson says: ‘Kōwhaiwhai take Susan Badcock’s exhibition, Treasure & us on a visual journey where their own geneal- Tragedy ogy of swirling curls, come to represent short Rugs by Reuben Paterson available from 4 Susan Badcock Gallery, 47 Talbot Street, journeys. These expeditions are literal, spiritual November Geraldine, Tue-Sat 10-2pm and metaphorical excursions between all parts Dilana, 102 Buchan Street, Sydenham of the meeting house, reinforcing the intimate Monday to Friday Julie Reason creates unsettling, dreamlike surreal collages using found images, scis- sors, and glue. The tactile, spontaneous nature of her creative process results in Perspective – Women in Urban Art striking images that defy waking logic. Anonymous Curious ← wide scope of graffiti and street art, fields tradi- Julie Reason & Ekaterina Vernon, MEEP, Style Natures, Stoddart Cottage Gallery, Lower Wars, 2020 tionally considered predominantly masculine. Featuring graffiti writers, street artists, Waipapa Avenue, Diamond Harbour, 6-29 muralists, photographers and videographers, November Perspective will shine a light on the work, stories and realities of eighteen women who have made Watercolourist Nancy Tichborne trained at their mark on Aotearoa’s urban art culture. Each St Martin's School of Art but never studied artist presents a unique back-story filled with watercolour technique there. ‘They saw it diverse experiences, revealing that challenges as being for little old ladies who paint flow- and success come in many different forms and ers. I had always been able to paint and draw categorisation is never definitive. extremely accurately. The most important In addition to the exhibition of works, thing I learnt at St Martin's is that you have to Perspective includes the release of a limited struggle…. When I discovered watercolour, I edition zine featuring interviews with the artists. was really challenged.’ Perspective Kim Newth, ‘Nancy Tichborne’s New seeks to add an important and Start timely chapter to the discussion of urban art ,’ See: stuff.co.nz/the-press/ in New Zealand, a story where female artists christchurch-life/avenues/9722237/ In what has been an undeniably unusual year, continue to have an essential voice. Nancy-Tichbornes-new-start Perspective - Women in Urban Art will be Nancy Tichborne’s Studio, 16 Rue Balgue- Fiksate’s second exhibition of 2020, explor- Perspective - Women in Urban Art rie, Akaroa, 13-15 November, 10-4pm ing the experiences of a group of female urban Fiksate, 165 Gloucester Street artists, each travelling distinct paths within the 6 to 29 November For each artist the work for this show began during lockdown and related to their personal sense of space. The artillery case vase in this still life is my Grandmother’s, a nurse brought back from the First World New Sculpture Festival In Ōtautahi War. Gill Hay on the group exhibition Place, and The Arts Centre Te Matatiki Toi Ora launches → John Parker the subject of one of her paintings. a new annual event in November. The Arts Centre Sculpture Festival will exhibit and Recent work from Anna Dalzell, Alison is described by demonstrate Erickson and Gill Hay, Place, NZArtbroker creative director Chris Archer as something his ceramic skills at the Arts Gallery, 241 Moorhouse Avenue, Christ- that will ‘lift people’s spirits given the strange Centre church, 7-21 November times we are in.’ The Festival’s programme is curated by Form Gallery director, Koji Miyazaki who has brought together artists that include ceramic artists Katie Gold, John Parker and Hana Rakena, glass artist Graeme Hitchcock and jewellers Ailish Roughan and Elfi Spiewack. Taking place in the Great Hall and North Quad, the South Quad will also feature a performative, dance collaboration between The Arts Centre Sculpture Festival Robyn Webster and Fleur de Thier, and each The Arts Centre Te Matatiki Toi Ora weekend live music, food vendors, artist talks 2 Worcester Boulevard, 13 to 27 November and workshops will take place. See: www.artscentre.org.nz/whats-on/

Artbeat Issue 23, November 2020 GALLERIES T 1 7 Sēmisi Fetokai Potauaine, Absolution Ashburton Art Gallery VAKA 'A HINA, 2019, Rauora Ella Hickford, Stranded, pho- Mizuho Nishioka, North Park, 115 Lichfield Street tography exhibition, 6–30 Nov, by Northwest, until 8 Nov, Arts Centre Te Matatiki Toi Hakatere Ceramics and Elements Street Art Murals Ora, 2 Worcester Blvd, CHCH, Pottery, , until 8 Nov, Mon–Sun 10–6pm Ashburton Society of Arts, U 56th Annual Exhibition Askew One (Elliot O’Donnell) , until Kristen 2 Lost and (NZ) – , 2013, 162 Aigantighe Gallery 13 Nov, Black Blue, DISCOVER Found/Flotsam & Jetsam Gloucester Street Alpine Energy Art Awards & , 18 South Canterbury Art Society Nov–16 Jan, Lakiloko Keakea, V Untitled Fafetu Rone (Aus), , 2013, Annual Exhibition, until 8 Nov, , 21 Nov–12 Feb, West St, 105 Worcester Street 49 Wai-Iti Rd, Maori Hill, Tima- Ashburton, Mon–Sun 10–4pm, ru, Tue–Fri 10–4pm, Sat–Sun Wed to 7pm W Untitled (Giving Public Art in the Four Avenues Adnate (Aus), 12–4pm Hands) 8 , 2015, 132 Kilmore Bryce Gallery A G N Call me Snake 3 Thomas Woolner, (founding Coalbrookdale Foundry, Judy Millar, , Street Arca Gallery 84 Vicenza Dr, Ohoka RD2 member of the Pre-Rapha- Shropshire, Peacock Foun- 2015, cnr Manchester and Bespoke jewellery and small- , Fri–Sun 10–5pm, John Robert Godley tain X Untitled elites) , 1911, Botanic Gardens Armagh streets ROA (Belgium), , scale artworks, until 30 Nov, Mon–Thu by appointment Statue, 1867, Cathedral 2013, Canterbury Museum, 127a Hackthorne Rd, CHCH, H E Noho Ra De O Solidarity 9 Square Paul Dibble, Mischa Kuball, 11 Rolleston Avenue Tue–Sat 11–4pm Canterbury Museum Chirico, 1995, Robert Mc- Grid, 2013/15, Park Terrace, House of Treasures: Ngā B Citizen’s Y Organic Matters 4 Taonga Tuku Iho William Tretheway, Dougall Art Gallery, Botanic entrance to Hagley Park Chimp (NZ), , Art Hole , until 13 Jun War Memorial, c. 1936, Gardens 2018, Justice & Emergency Katie Wright and Lucinda 2021, Owen Mapp, Dragons P Raise the Interims and Taniwha Cathedral Square Nathan Pohio, Services Precinct, 44 – 52 Webber, , 3–7 Nov, , until 22 Nov, Luke I Nucleus anchor, unfurl the sails, set Phil Price, , 2006, cnr Lichfield Street 10–4pm, Chelsea Thomson, Jerram and Hannah Beehre, C course to the centre of an Passing through with the Our Moon: Then, now and George Frampton, (Arts and High and Manchester streets ever setting sun! Z Untitled Booming System beyond Crafts movement 19th cen- 2015, Harper Jacob Yikes (NZ), , 10–14 Nov, , until 8 Nov, Rolleston Industry and Concord J Flour Power (Alice in Videoland) Emotive tury), , Regan Gentry, , Avenue , 2017, 201 Eden Thomson, , Ave, CHCH, Mon–Sun 9–5pm c. 1882, cnr Oxford Terrace 2008, cnr High and Colombo Tuam Street opens 6pm, 17 Nov, 336 St Q Under Con- 10 and Worcester Boulevard streets Peter Atkins, Asaph St, CHCH Catalogue struction – Chaos and Order AA Whero Kevin Ledo (Canada), Penny Lane, 430 Colombo St, D Poupou K Passing Time (Re-imagined), 2014/19, 148 O Te Rangi Bailey 5 Riki Manuel, , 1994, Anton Parsons, , , 2017, 128 Art on the Quay CHCH, Mon–Fri 8–5.30pm, Victoria Square 2010/11, High Street entrance Gloucester Street Armagh Street Rangiora Potters Group, A Sat 9–5.30pm, Sun 10–5pm to Ara Institute of Canterbury Celebration of Ceramics, until E Rainbow Pieces R Conduct BB 11 Pat Hanly, , Seung Yul Oh, Wongi ‘Freak’ Wilson (NZ), 3 Dec,176 Williams St, Kaiapoi, Chamber Gallery Rangiora L Tree Houses Cumulus Rauora Park 1974, Christchurch Town Julia Morison, , 2017, Southern , 2018, Rauora Mon–Wed, Fri 9–5pm, Thu to Jane Barry, Something to Hall Foyer for Swamp Dwellers, 2013, Quadrangle, Arts Centre Park, 214 Manchester Street 9pm, Sat 10–2pm, Sun 1–4pm Send Across the Sea, 2 Nov–3 Ōtakaro-Avon River, cnr Dec, Jackie Margaret, new F S Stay CC Untitled 6 Monument / Sculpture Lady Colombo and Kilmore streets Antony Gormley, , 2015/16, Ampparito (Spain), , Arts in Oxford paintings, 29 Nov–Jan,141 Kathleen Scott (wife of Robert Northern Quadrangle Arts 2017, 30 Allen Street Philip Trusttum, What Have We Percival St, Rangiora, Mon– Scott Statue M Diminish Got Here Summer Falcon Scott), , David McCracken, Centre, Ōtakaro-Avon River , until 8 Nov, Thu 9–5pm, Fri 9–7pm, Sat and Ascend DD Untitled Show #6 1917, cnr Worcester Boulevard , 2014, Kiosk between Worcester Boulevard Tilt (France), , 2015, , 13 Nov–17 Jan, Main 10–2pm, Sun 1–4pm and Oxford Terrace Lake, Botanic Gardens and Gloucester Street 51 Victoria Street St, Oxford, Fri–Sun 10–4pm

BEALEY AVE

32

HARPER AVE P

30

SALISBURY ST

PETERBOROUGH ST

DD KILMORE ST

E W

CHESTER ST CHESTER ST WEST L

O COLOMBO ST D N ARMAGH ST

H M AA 18 GLOUCESTER ST GLOUCESTER ST S ROLLESTON AVE X MANCHESTER ST 15 40 Q U 13 C 9 F V BB WORCESTER ST A B WORCESTER ST 21 36 1 39 G 17 36 R S 33 27 HEREFORD ST MONTREAL ST COLOMBO ST J CASHEL ST FITZGERALD AVE BARBADOES ST BARBADOES

I STANMORE RD MADRAS STMADRAS

22 HIGH ST T LICHFIELD ST

Y DURHAM ST 28

TUAM ST

Z

ST ASAPH ST

K 4 41

CC

12 29 38 MOORHOUSE AVE

16 DISRAELI ST BYRON ST WILSONS RD 14 WALTHAM RD

20 BUCHAN ST 42 10

WORDSWORTH ST

24

04 12 17 31 36 Chambers Gallery Eastside Gallery 9–11 Nov, 10–4pm, 12 Nov, Paludal Teece Museum Not Pictured in Map: Peter Cleverley & Tim Ross Gillies, Robin Walsh, Alan 10–1pm, Fine Arts Ln, off Clyde Xin Cheng and Eleanor Cooper, of Classical Antiquities 2. Aigantighe Gallery Middleton, until 14 Nov, Jason Curreri and Kenneth Doidge, Rd, CHCH, Mon–Fri 9–4pm opens 4 Nov, Exhibition details Arts Centre of Christchurch, 3. Arca Gallery Grieg and Doc Ross, Dr and Ikons 2 Bygones, 4–21 Nov, New and hours, instagram: paludal_ 3 Hereford St, CHCH, 5. Art on the Quay the Wasp III First Steps 2020 24 , 7 Nov–5 Dec, artists, , 24 Jonathan Smart Gallery chch 2 Papanui Rd, CHCH Wed – Sun 11am– 3pm 6. Arts in Oxford 241 Moorhouse Ave, CHCH, Nov – 5 Dec, Eastside Gallery at Marie Le Leivre, Sounds Woo, 7. Ashburton Art Gallery 32 37 Tue–Thu 11–5.30pm, Fri to 5pm, Linwood Arts, 388 Worcester 10–28 Nov, 52 Buchan St, PGgallery192 The Central Art Gallery 8. Bryce Gallery Sat to 2pm St, CHCH, Wed–Sat 11–5pm CHCH, Wed–Sat 11–5pm Andrew Ross, Nigel Buxton, Group Exhibition, 5 Nov–6 11. Chamber Gallery Rangiora Maurice Lye, Philippa Blair, Dec, Arts Centre of Christ- 19. Fo Guang Yuan Art Gallery 13 18 25 Christchurch Art Gallery Fiksate LEstrange Gallery Richard McWhannell, church, 2 Worcester Blvd, 23. Ilam Campus Gallery Te Puna o Waiwhetū Perspective - Women in Urban Works by Hamish Allan, until 30 Katherina Jaeger, Seeing CHCH, Wed–Sun 10–4pm 25. LEstrange Gallery Max Gimblett, Ocean Wheel, Art, 6–29 Nov, 165 Glouces- Nov, 53 Nayland St, Sumner, What’s There, until 6 Nov, 26. Little River Gallery 38 until 15 Nov, Areta Wilkinson, ter St, CHCH, Tue–Wed CHCH, Tue–Fri 11–5pm, Sat– Aiko Robinson, new work, The National 31. Paludal Moa-Hunter Fashions, until 8 10–2.30pm, Thu 10–5pm, Fri Sun 12–5pm Rebecca Harris, Dark Burns Areta Wilkinson, 27 Oct–14 34. Stoddart Cottage Gallery Feb, Conor Clarke, Emma Fitts, 10–8pm, Sat 11–4pm the Night, Flirty Bird Flies, 10 Nov , Cheryl Lucas & Fran- 35. Susan Badcock Gallery Touching Sight 26 Oliva Perkins, , Little River Gallery Nov–4 Dec, 192 Bealey Ave, ces Stachl, 17 Nov–5 Dec, Te Wheke: Pathways 19 until 21 Feb, Fo Guang Yuan Art Gallery Josh Bashford & Fatu Feu’u, un- CHCH, Tue–Fri 10.30–5pm, 249 Moorhouse Ave, CHCH, No Current Listings: Across Oceania, until 23 May Prof. Kuo Yen-Chiao, Painting til 25 Nov, Christchurch Akaroa Sat 10.30–2pm Tue–Sat 10.30–5.30pm 42. XCHC 2022, Cnr Worcester Blvd and Exhibition, until 5 Dec, 2 Rd, Mon–Sun 9am–5.30pm 33 39 Montreal St, CHCH, Mon–Sun Harakeke St, CHCH, Tue–Sun Pūmanawa The Physics Room Artbeat is a monthly arts newspaper 27 10–5pm, Wed to 9pm 9–4pm  NMG Community Gallery Nina Oberg Humphries, with news, reviews, commentary and Seraphine Pick, Wynn Williams Kelsey Woodford, A Source TA'AI, until 29 Nov, 301 listings of exhibitions and events in 14 20 of Dread: Comfort in the City Art Depot Form Gallery House, Dec, 47 Hereford St, Montreal St, Arts Centre Te Ōtautahi Christchurch and Canterbury. Henry Turner, Fever, 3–23 Nov, Jarred Wright, Greywacke, 4–28 CHCH, Wed–Sat 11–5pm Ocean, until 8 Nov, Art & Matatiki Toi Ora, Tue–Fri, We cover all aspects of the visual arts, 96 Disraeli St, CHCH, Mon–Fri Nov, 468 Colombo St, CHCH, Company, Collective Col- 11–5pm, Sat–Sun 11–4pm, inform existing audiences for the arts 28 lection 8.30–5pm, Sat 10–2pm Tue–Sat 10–5pm Ng Space , 24–29 Nov, The Arts Wed to 9pm and develop new ones Scott Flanagan, new work, 6 Centre Te Matatiki Toi Ora, 15 21 40 CoCA Toi Moroki Great Hall Nov–Dec, Level 1/212 Madras 2 Worcester Blvd, Tue–Fri Tūranga For news/advertising Colin McCahon, A Way Through The Arts Centre Sculpture Fes- St, CHCH, Mon–Fri 10–5pm, 10.30–5pm, Sat 10.30–2pm Talanoa I Measina: Sharing email: [email protected] - Gate III, until 8 Nov, David tival, 13–27 Nov, The Arts Centre Sat 10–4pm our Stories, curated by John Scott Works 34 Straight, , until Te Matatiki Toi Ora, 2 Worcester Stoddart Cottage Gallery Nina Oberg-Humphries, 12 29 7 Nov, Jasmine Togo-Brisby, Blvd, CHCH, 13 – 27 November, NZ Art Broker Julie Reason & Ekaterina Nov–28 Feb, 60 Cathedral From Bones and Bellies, until 7 10am to 5pm Anna Dalzell, Alison Erickson Vernon, Curious Natures, Square, Mon–Fri 8am–8pm Nov, Aaron Paterson, Sarosh and Gill Hay, Place, 7–21 Nov, 6–29 Nov, 2 Waipapa Ave, Sat–Sun 10–5pm Draw- 22 Mulla & Marian Macken, Hot Lunch 241 Moorhouse Avenue, Diamond Harbour, Week- ing Room Tongpop Hush Swamp 41 , Telly Tuita, Ed Ritchie, , until Christchurch, 7 Nov, 11–12 Nov, ends only, 10am–4pm Windsor Gallery Nostalgia, 28 Nov–20 Feb, 66 11 Nov, Uma Tuffnell and Jonald 11–2pm, 14 Nov, 11–3pm, 18–19 Art Show Open Weekend, 35 Gloucester St, CHCH, Tue–Fri Dudd, 20 Nov–9 Dec, 227 High Nov,11–2pm, 20–21 Nov, 11–3pm Susan Badcock Gallery 30 artists, 180 artworks, 7–8 10–5pm, Sat 10–3pm St, CHCH, Tue–Sat 10–5pm Susan Badcock, Treasure Nov, 10–4pm, 386 St Asaph 30 & Tragedy 013 Gallery , until 30 Nov, 47 St, Mon–Fri 9–5pm, Sat 16 23 Belle âme Dilana Ilam Campus Gallery Jacob Root, , 6 Nov–6 Talbot St, Geraldine, Tue– 10–1pm New rugs by Reuben Paterson, Select and Ilam Open Week, 6 Dec, 123 Victoria St, CHCH, Sat 10–2pm 102 Buchan St, CHCH Nov, 5–7pm, 7–8 Nov, 11–2pm, Wed–Sun, 10–4pm Artbeat: ISSN 2624-2664

Online Gallery now open at www.suzyabbott.co.nz/visserabbottgallery

excl. Forged Artbeat follow up ad 85x58mm.indd 1 10/10/20 9:18 AM

Valuations for insurance and estate purposes

Dr. WarrenResearch Feeney — Catalogue essays 022 176 9272 [email protected] Reviews artcontent.co.nz Commentary and publishing

Artist’s CVs

artcontent.co.nz

Artbeat Issue 23, November 2020 05 For extended reviews and content visit:

REVIEWS www.artbeat.org.nz Martin Awa Clarke Langdon, Return home Tūī, let your song remind us of histories unseen

writer Orissa Keane In the North Quad of Te Matatiki Toi Ora, the reminiscent of those found assisting the ongo- → Martin Awa Arts Centre, on one of the raised grass beds ing reconstruction of Te Matatiki Toi Ora. Clarke Langdon is a multitude of combined memories of a Common across the three works in The Return home Tūī, let your place. This multitude is commonly referred Physics Room exhibition and the work for With song remind to by a single, reductive word; history. SCAPE is the creation of space. By demarcat- us of histories Return home Tūī. Let your song remind us of ing an area and offering a space for contem- unseen 2020. histories unseen Martin Awa Clarke Langdon plation, Langdon suggests an alternative Image courtesy of the artist and acknowledges history and site specificity as approach to “Te Araiteuru”. The staged pā was SCAPE Public more than just an historic building. This work for spectacle and entertainment – not a space Art. for SCAPE Public Art sits in conversation with created for the people it feigned to represent. the exhibition at The Physics Room’s, Room to The popular vision-oriented metaphor breathe: Ka tau hā te mauri, also by Langdon. for remembering, “to look back”, doesn’t Lashed kōrari appears in both The Phys- While each work in Room to breathe: Ka Both exhibitions stem from the same concep- allow for the sound of a tūī’s call or the feel ics Room and SCAPE exhibitions. Langdon tau hā te mauri came out of different collab- tual base; remembering “Te Araiteuru”, a of a place. “Return home Tūī” refers to a says that one translation or understanding orative relationships, perhaps Return home staged Māori pā created for the 1906-7 New number of Māori proverbs which relate the of hohou, lashing, is ‘to settle,’ and the same Tūī offers a collaborative engagement for the Zealand International Exhibition. appearance of kōwhai flowers to the arrival of verb carries the meaning ‘to make peace.’ The audience to consider te whenua and tangata The raised grass bed with scaffolding at Spring – with the new season returns the tūī action seems capable of combining objects, whenua, histories unseen and stories both its boundary nods to a pā. Letter forms made and kai such as whitebait. Time and history histories, peoples and memories, to settle written and unwritten. from kōrari, flax stalks are lashed to the scaf- are treated by Langdon like an accumulative and to rest together. The act of lashing is hard fold, drawing shadows of a tangled language. substance; layering and merging – sticky – on the hands, it abrades the edges of fingers Within the border is a 3D printed replica of a tī inextricable and ongoing. All in one place are pulling the twine tight. There is effort, pain and Martin Awa Clarke Langdon, Return home Tūī, kōuka tree, with a section of the original tree at new technologies, old technologies, the tūī something taught (and taut) involved in lash- let your song remind us of histories unseen its top, supporting a wharemanu, birdhouse. At song, memories of the earthquake, a staged ing, just as there is in the ongoing recognition Northern Quad, Arts Centre Te Matatiki Toi its base is a large concrete foundation block, pā, a mahinga kai. of histories of a place. Ora, 2 Worcester Boulevard

Zines Reviews giving his memories of home a wistful tinge articulate and whimsical, Lucid Change is a - A delightfully framed window into the mind fine collection of underground strips from a writer of a dearly-missed local creator. talented newcomer. Nick White Spencer Hall, Scraps #1 Veronica Brett, Lucid Change Anonymous, Covid 19 2020 “Transit and jetlag expressed as sticker “It’s my mother’s presence - I can hear her “The throat singing’s begun. Through the amp collage.” laughter in the flushing toilet.” and loop pedal. Shoot me now.” Like many compulsive diarists, prolific The solo comics debut of Dunedin artist Created during New Zealand’s recent lock- South Island artist and musician Spencer and tattooist Veronica Brett arrives in the down, this slight publication bookended by torn Hall has a deep sense of self. A lifelong jour- form of a mischievous one-woman anthol- vintage photo collages is a classic passive-ag- nal keeper, Hall has culled these bite-sized ogy, packed with short, gently psychedelic gressive anger-zine. Its anonymous author’s articles, comics, photographs and illustra- stories rendered in a variety of styles with litany of short, haikuesque complaints about tions from his 2018 and 2019 sketchbooks, shades of Gilbert Shelton, Robert Crumb, a (hopefully) former housemate is a cute and charting his move to Canada and his recol- William Burroughs and David Mitchell. Riso- cathartic record of isolation frustration. Pithy lections of life in Aotearoa. Slickly printed graph printed and squarebound in salmon three-line gripes, in serifed type on stark in Montreal with a striking colour cover, pink, Brett’s lively monochrome line work white backgrounds cover complaints about Scraps is a lovingly assembled letter to the mixes inks, washes and felt pens, deliver- drunken shouting, Netflix documentaries, world, featuring typewritten lists of favou- ing autobiographical vignettes, thoughtful sourdough starters, kitchen filth and the social rite records, t-shirt graphics and zines, ruminations, inky dreams, trippy visions media over-sharing so prevalent during the memories of minimum-wage jobs, spidery and fond childhood memories. A duck and pandemic. A snippy, grumpy and funny little sketches of half-remembered photos from a penguin discuss relationship issues, the record of familiar flat frustrations. a broken smartphone, an adorable tribute to cartoonist experiences a drug-induced → his Canadian partner and a heartfelt auto- familial reverie, a snake receives a vigorous Veronica Brett, biographical strip about the Christchurch massage, a raindrop makes a tragic journey, Lucid Change mosque tragedy. As a dedicated self-pub- and a mallard makes a sandwich in an ador- All zines available at Ride On Supersound lisher, collector and curator, Hall constantly able strip that invokes Uncle Scrooge by way the short dream strip in which a wood louse 172 High St, CHCH examines his identity as a New Zealander of Klasky-Csupo. is surgically removed from a young woman’s globuya.com/NZ/Christ- flying the flag for idiosyncratic media, and his Brett’s worldview is goofy, charming, and head) and sidesteps the darker, confessional church/1075641695943726/ expatriate status has sharpened his focus, refreshingly well-adjusted (notwithstanding nature of many personal comics. Confident, RIDE-ON-SUPER-SOUND

Darryn George, grasses, shrubs & trees

writer Warren Feeney Darryn George’s grasses, shrubs & trees is of abstraction that confirmed his affilia- George’s practice. Nevertheless, it is one an unexpected exhibition, possessing all tions to artists like Geoff Thornley, now that is utterly pertinent and worthy of more the hallmarks of a midlife crisis, a moment his paintings seem to share (as someone direct and serious consideration. where, what once seemed important in recent commented to me) the spirit of Andy your life is transcended by something more Leleisi’uao’s iconography, an empathy with necessary. The grasses, shrubs and trees the notion of empowerment and wellbeing in George’s new paintings have replaced through community interaction. the geometric -abstract forms and shad- Yet, conversely the paintings in grasses, owy tonalities of his stacked ‘stairways to shrubs & trees do remain concerned with the ← heaven’, transcended by a Matisse-inspired premise of a stairway to heaven, the exhibi- Darryn George, colour palette and the gathering of crowds tion’s title and its imagery, directing attention Mara #24 , encircled by brightly coloured vegetation. to the possibilities of our relationship with the Darryn George, grasses, shrubs & trees 2020, oil pastel PGgallery192, 192 Bealey Avenue, and acrylic on If George’s painting has previously natural world and the potential of a heaven on canvas been thoroughly connected to a history earth. It is an unexpected proposition from 15 September to 9 October

06 Philip Trusttum. What Have We Got Here. : Drawings, Engravings, Arts in Oxford Gallery Book Designs and Letterpress

Arts in Oxford Gallery celebrates its tenth drawings, engravings, book designs and anniversary with an exhibition of 14 paint- letterpress printing by Leo Bensemann ings by its patron, artist Philip Trusttum. What (1912-1986). Have We Got Here features acrylic on canvas Curator, Peter Vangioni described the works from Pictures at an Exhibition, 2005, material gifted to the Christchurch gallery masked portraits from 2018 and recent as made up of a ‘wonderful bronze sculp- paintings of silhouetted branding symbols ture of a horse by wife and artist Elsie from popular cars, well-known to Trusttum Mary Barrett and much of Leo’s book collec- from his daily walks. It is a concise survey tion, including extensive Caxton Press publi- and a valuable reminder of Justin Paton’s cations and ephemera.’ The drawings really observation about the wonderfully ‘seriously rounded out the gallery’s representation of playful’ nature of Trusttum’s practice. his paintings, prints and now drawings, and As gallery patron, the artist is also firm- the books were an important addition to the ing up this relationship with confirmation of gallery’s rare book collection developed by a solo exhibition scheduled every two years Vangioni and gallery librarian, Tim Jones. and his active support for the gallery as The Ilam exhibition also high- both a space for exhibitions by prominent lighted Bensemann’s ink drawings, wood contemporary artists and a community engravings, selected cover designs for space for art education and exhibitions by The Group Show catalogues and dust- local artists. jacket designs for Caxton Press books. ↑ ↗ Vangioni’s highlight was ‘the book Philip Trusttum, The Gnomus, 2005, acrylic on canvas Leo Bensem- Leo Bensemann: Illustrator, Designer and of drawings titled Fantastica: Thirteen Draw- Philip Trusttum, What Have We Got Here ann, The Rime Printer ings of the Ancient opened 2 October at Ilam Campus which he drew, designed and printed Arts in Oxford Gallery, Main St, Oxford Mariner (c.1952), Gallery, revealing and acknowledging on his own.’ This was the work that saw him Until 8 November ink drawing, the Bensemann family’s recent gener- offered a partnership with the Caxton Press Collection of the ous donation to the University of Canter- and also the work which Vangioni states Christchurch Art Gallery Te Puna bury and Christchurch Art Gallery Te Puna stands strongly beside the artist’s British Fever at City Art o Waiwhetū o Waiwhetū. The exhibition celebrated contemporaries, despite being a beginner. Depot An Exhibition of Traditional Chinese Painting Henry Turner describes his current exhibi- tion, Fever as made up of three areas of inter- est s: Plants, emotions and the ‘interface’ between the conceptual and figurative. He says that the plants are, to a certain extent, a matter of incidental interest that comes from his memories of a medical operation in Dunedin and two months of methadone, followed by cold turkey in summer. Turn- er’s maintains that the Canterbury Plains ← Henry Turner, in summer were endless blue skies and he Breezes Like became allergic to ‘the Plains’ endless hori- Honey are Flowing zon and baked sky. ‘Another major part of my , 2020, → gouache on Prof. Kuo Yen-Chiao, Waterfall, (de- despair at the time was ecological devas- panel tail), pen and ink on silk paper tation. The Plains had been wiped clean of all native vegetation…. I decided to turn the conceptual and figurative work can exist and The Fo Guang Yuan Gallery in the Fo Guang who occupy it. Traditional Chinese Painting Plains from despair ground-zero to a land of pollinate one another. There are 30 painting Buddhist Temple in Ōtautahi Christchurch ranges from delicate and detailed draw- milk and honey - making sense of and recon- and these are the three ways in which the is hosting the exhibition, Traditional Chinese ings to impressionist studies of nature and ciling it.’ show operates.’ Painting, a survey of works on paper by ‘splash ink’ works, cumulatively revealing the And the emotional and conceptual/figu- Taiwan old master, Professor Kuo Yen-Chiao distinct voice of the artist and his assimila- rative agenda? Turner says that excitement, Henry Turner, Fever, 3-23 November (1920 – 2020). Born in Hunan, he learnt to tion of his subjects. terror, grief and general contentedness with City Art Depot paint from his father and Uncle Kuo Shao a whole lot of other things are all there in 96 Disraeli St, Sydenham Wu, a Qing dynasty scholar. The exhibi- Prof. Kuo Yen-Chiao, Traditional Chinese Fever. ‘Depending on what I was doing at the Mon-Fri 8.30-5pm, Sat 10-2pm tion’s paintings are rich in their detailing of Painting, Fo Guang Yuan Art Gallery time, various experiences have finished up Thanks to City Art Reader, the landscape, the seasons and relation- 2 Harakeke Street, Riccarton, Tue-Sun 9-3pm in there. It is my conviction that elements of see: cityart.co.nz/reader/ ships between the natural world and those Until 5 December

artist designed handcrafted rugs dilana 102 Buchan St | 3665866 New rug series by Reuben Paterson PG gallery 192

Representing leading NZ artists

192 Bealey Avenue, Christchurch 03 366 8487

www.pggallery192.co.nz

Artbeat Issue 23, November 2020 PG_ad_ArtBeat_May2020.indd 1 21/04/20 0712:24 PM OPEN STUDIO ILAM EXHIBITION 7–12 NOVEMBER ILAM SCHOOL OF FINE ARTS 2020

For more information call 03 369 4416 or visit www.canterbury.ac.nz/arts/fina

House of Treasures Ngā Taonga Tuku Iho Celebrate 150 Years of Your Museum

Henry Turner Fever Opening 5.30pm, Tuesday, 3rd November

Exhibition 3 – 23 November 2020 Mizuho Nishioka, Movement 5875 (NbNW) (detail), Digital Pigment Print, 2020. Discover Kate Sheppard’s $10 note dress MIZUHO NISHIOKA and other rarely-seen taonga from the collection NORTH BY NORTHWEST 9 SEPTEMBER - 8 NOVEMBER 2020 Exhibition on now Gallery 96 Disraeli St cityart.co.nz 327 WEST STREET, ASHBURTON, 7700 ASHBURTONARTGALLERY.ORG.NZ Framing Sydenham T | 03 308 1133 Installation Christchurch 03 365 3811

The Doctor and The Wasp Part Three Doc Ross and Jason Greig Opening night Wed 18 Nov Exhibition runs 17 Nov – 5 Dec 241 MOORHOUSE AVE | CHRISTCHURCH 022 677 2810 | WWW.CHAMBERSART.CO.NZ Instagram: chambers_art | Facebook: chambers

08